In the middle ring of Melbourne’s suburbs is a house that has no insulation, mismatched carpet, handmade curtains, a bad interior paint job and no heating or cooling.
I know this, because I used to live there.
In the middle ring of Melbourne’s suburbs is a house that has no insulation, mismatched carpet, handmade curtains, a bad interior paint job and no heating or cooling.
I know this, because I used to live there.
So I’d plug in those ubiquitous white headphones on my way back to the train station and put that album on, knowing it was the perfect soundtrack to that time between last drinks and the last train.
It’s a harsh album on first listen, a tired beast borne of carnival touts and bitter polka bands.
The music was – is – unique to my ears, a symphony of history and ancient instruments. The melodies are simple, at first, until you realise he’s playing three different melodies on two instruments, with his raw charcoal voice on another melodic journey.
Your usual love songs have never been terribly interesting to me.
The schmaltzy, boring lyrics and flat vocals all over the radio are just dull. They’re chemically treated to exist without any context, floating away from any significance.
They’re the antithesis of this entire series actually – songs bereft of meaning, with the additional quality of being sonically boring.
Then you drill down into the lyrics and you realise the boppy tune is all about the dangers of a night out. The thin line between fun and a punch in the face. The risks that the local constabulary could pose when you’ve had a skinful and lost your primary faculties:
My first job was at Hungry Jack’s. It might be the rose-tint of nostalgia, but it remains one of my very favourite jobs.
Work all shift with your mates, in a fairly demanding environment (the local appetite for Hungry Jack’s was, back in 1999, insatiable), giving each other stick and actually working pretty hard.